Saturday, October 26, 2013

Sketching for July/September '13

With over a month since my last post, you'd think I'd have lots to show.  You would be wrong.  It's not that I've not been active (though I've not produced anywhere near what I should have - almost no speed paints for example), just that much of that I either can't show, or can't show just yet.  Mostly though this month (and the end of the last) has just been a fairly tough slog.  Long time followers will know that October 5th marks an unhappy anniversary for me, and  as such the two weeks around that date are usually a pretty horrible time for me emotionally.   This year though I also had two friends pass away in the time since I last posted.  The latter was very close, and died on Thursday.   I won't post my thoughts on that here - it's best left to other places, but obviously it's affected me deeply.

But on to happier things, at least for this post.  We've had a house guest for a few weeks, and he's likely to be around for a while longer.  While his presence is obviously a minor distraction from the art thing he's also the model guest, and we're very happy to have him. I do also have some things coming up soon - I'm taking a new painting class, and I'll be posting the results before long.  One of the pieces seems to be fairly popular, (though of course, being me I can't see why) and overall there should be three or four paintings by the end of it.  I've also been working on a new book cover for Dr. Sandifer, and that should be hitting the electronic store shelves in the next few weeks - I'll have a post about it ready when it does of course.  There are also another two covers that are essentially done, and just waiting on a final page count.  Those I'll probably blog about in December and January when the books go live.  So yes, things are happening, even if it's not quite in the places I would hope (anatomy practice, sketching, that sort of thing - I've had no mental time for it the past few months, but hopefully that will change soon).  For now though, let's get the sketching up to date...



Two sheets of heads from July through to September.  Varying quality, obviously, although there are a few I'm really pleased with (yes, that's a rarity - mark this date in your diaries).  The profile of the woman (used n the thumbnail of this post) turned out quite nicely, as did the closeup of the eye to her right.  Below the eye is perhaps the best face I've ever drawn while not referring to a photograph - He just looks very natural to me (albeit like Bill Clinton's younger sibling).  On the larger sheet I like the stylization of the chap in the top left, and the expression of the girl below him.  The arm of the girl to their right turned out okay too.  I've also put a little work into drawing some more diverse ethnicities.  Hopefully that's apparent here.


And here are some figure based sketches. I like bits of many of them, but almost none of them as a whole. I still have a long way to go with this stuff evidently.

And there you have it - Not a lot to be going on with, but it won't be over a month until I post again, so there's more to come fairly soon.

Sunday, September 15, 2013

Speeding Back to Action

Back again.  I'm not sure I'm going to write detailed reasons for post delays any more, as mostly they just boil down to "Because Life."  Time just tends to get away from me sometimes.  Anyway, I said a few days, and it's been seven, or at least it will be seven if I manage to finish this post on the same day I start it, which was not the case with my latest speedpaint. This is a speedpaint post by the way, if the title didn't give it away.  It starts badly but gets better, so stick with it if you're going to look below.

Ready?  Then I'll begin.


Time Taken: 25 minutes
ArtRage Pro

I told you it would be a poor start.  Yes, this woman looks like she has some sort of terrible drug habit, and no, she's not supposed to look like that.  The sad thing with this is that it actually looked like it was going to be pretty good at one point, as you can see if you look at the stages:


Rushed the finish though, messed it all up.  She's not based on anyone, I was just slapping down paint to see what stuck.  Sadly what stuck was poo; it's really hard to get that out too.


Time Taken: 70 Minutes
Sculptris

No, I didn't paint this.  It's technically a speed sculpt rather than a speed paint, as will be the next two.  70 minutes isn't actually that speedy for a sculpt though; I know guys who can reach this stage in what seems like 10 minutes (It's longer, barely, it just seems like that).  I've not done a lot of head modelling, so this was interesting.  No reference, so it was also a good way to gauge how my head anatomy knowledge was coming.  He turned out looking sort of Egyptian, and for once this was partially intentional; I saw him swinging that way and went with it.


Time Taken: 90 Minutes
Sculptris

Oddly I started this one from scratch, but she looks sort of related to the last one, as though I just altered the mesh.  Not terribly successful, but it could have been a lot worse.



Time Taken: 70 Minutes
Sculptris

I'm a reasonably big Discworld fan, and obviously I have a mental picture of most of the characters.  I've tried drawing Sam Vimes a handful of times and it never turns out like the version in my head, so I tried modelling him this time.  Looks a lot closer to my mental picture.  Not great, but better.


Time Taken: 1 hour
ArtRage

And this one is also dreadful.  She's based on Countess V by Ann-Emerald-Stock, and while there's a similarity I'm not very pleased with the result.


Time Taken: 15 minutes

Less said the better really.  On the plus side, it only took 15 minutes.


Time Taken: 50 Minutes
SketchBook Pro 2011

Amadeus is one of my all time favourite movies (though I don't watch it often).  This is based on a picture of F. Murray Abraham as Salieri in the movie (specifically as he is in the framing story; an old man).  It's not particularly great, but it's the best thing I've done thus far in SketchBook Pro, so I guess that's something.




Time Taken: 45 Minutes
Photoshop CS3

Just a free form sketch of a woman, not much of particular note other than I really messed up the perspective.  Oh, and I did it all with a square brush, and the default color swatch selection, because why not?


Time Taken: ~ two hours
Photoshop CS3

One thing I don't like about painting in Photoshop is that Colour selection is sort of a pain.  In ArtRage and Sketchbook it's very easy to pick your colour, not so in Photoshop.  So after the last one (Where I only used the default colours), I thought Black and White might work well too, and since it was Freddie Mercury's birthday recently I thought he should be the subject.


This probably would have taken a lot less time had I not messed up the initial sketch.  It's the first one above (actually, that's the second attempt - the first was worse still).  It's clearly him, but there's something off about it.  eventually I realised I had drawn his chin and Jaw the wrong size (I guess he had an enormous jaw), and that was throwing off the rest of the picture.  I tried again, keeping much of the nose, cheek, eyes and forehead, and this time it worked out a bit better. Worked with a hard edged circular brush - if I had used a soft edge brush I likely would have spent much more time on it, getting the blending looking better and so on.

And there you have it.

Sunday, September 8, 2013

A Collection of Pleasingly Structured Lies (№ 2)

I had meant to do a speedpaint tonight. This would allow me to write a blog post about it tomorrow, which would be good, since my artistic progression is probably the main reason people read my blog (Actually, that's not true - I get more views from people who want to know about my book covers, Red Faction or how to trace a picture of Mickey Mouse - but I'll take what I can get).

Anyway, I didn't do the speedpaint. I had read an article on io9 earlier today that inspired me to write some fiction instead. I'll link the article at the end of this post so as not to spoil the story that follows, assuming you actually want to read it.

Despite this having happened a few times recently my writing fiction is not generally a common occurrence, so it might be months or years before I'm inspired to write any more. Either way, you are free to ignore my random writings, and I assure you I will get a speedpaint done, and an art based post up in the next few days.

I wrote this pretty rapidly over a couple of hours, and it's now gone two in the morning, so I hope you'll forgive a few grammatical and spelling errors. If it transpires that anyone other than my wife actually bothers reading it I'll clean it up a bit (she's a good proofreader - well, she's good at most things, so that's no surprise).

OK, I'll cut to the chase and get on with it.

Die Zukunft (The Future)

The young man headed for the door to the heavy pounding, wondering what could be so important at this time of the night.  He hoped the thumping was not enough to rouse others in the dormitory; he was unpopular enough as it was. Tying his robe he opened the door, and was confronted by a familiar looking older man. He looked much, but not exactly, like his father.  A lost uncle perhaps? Possibly a cousin? He felt certain he knew the man from somewhere at least. The young man took in the elder's clothes, and found them to be unusual, certainly not suitable for this time of night at this time of year.  Perhaps this was why he appeared sick?

"Do I know you?" he asked, "Are you all right?"

The older man had sagged against the door frame, his skin a sickly grey pallor.  Sweat stood out on his forehead and he gasped as though he had exerted himself recently.

"Oh, you know me," the older man gasped, "Better than you think.  I am not all right, but I think sitting may help, if you would be so kind?"

The young man took his arm and led him to the seat in his small room.  That done, he seated himself on the narrow bed and awaited an explanation.  He thought he should be angry at this interruption of his sleep, but the man looked so frail he found that he was filled more with concern.  He noted the bag clutched to the strangers chest with some curiosity - it was of an odd material not dissimilar to leather, but with none of the texture that a good leather bag might have on it's surface.

The elder caught his breath and began to speak.

"You will find this difficult to believe," he started, "But I bring evidence to convince you of my words.

"I have travelled here from the future, and I am you."

These words were so alien to the young man that he did not immediately comprehend them.  He knew of the concept of time travel of course, having read Mr. Wells' Die Zeitmaschine. But that was a fiction, a magical tale to be sure, but still a casual nonsense not to be taken seriously.  And this man being himself?  Preposterous!  He had a familial resemblance , yes, but surely this was not the face he saw when he looked in the mirror each morning, even accepting years added to it.  He looked again, trying to see past the pallor, the age and the moustache, and gasped.  Could it be true? They looked far more similar than he had first thought, though in the dim candle light of the room, along with the other factors, it was hard to be sure.

He realised the older man was still speaking - he had tuned out the words in his shock.

"... brought with me a device that might persuade you of the truth in my words, for it is vital that you believe me before I can tell you my purpose for being here."

The older man pulled from his bag a small box, about the size of a thick book.  It was made partly of what appeared to be glass, and another material the youth did not recognise.  It had the appearance of luridly painted, heavily lacquered  wood, but again not with the texture he would expect of such.  Along the side of the box were four silver buttons, and protruding from it was a length of cord, ending in a curve of metal.  At each end of the curve were two disks of a black foam like material.

"This is a music player," the older man stated blandly.  Clearly this was a common device to him. "You place this over your head with these disks upon your ears; they are called headphones.  I will then press this button and you will hear music from the future.  Once you have heard it I will let you examine this device, so that you can see that there is no trickery.  I hope this will be enough to convince you that what I say is true."

The young man took the 'headphones' and hesitated.  This looked like some strange instrument of torture - what if the metal band carried electricity from the box to his ears, electrocuting him?  He was no expert on electricity - he still relied on candles and gas lamps, though the library downstairs had some electric bulbs. His hesitation was momentary though; why would this man come here to electrocute him?  There was no reason, and as insane as his claim sounded it seemed somewhat less insane than randomly electrocuting a destitute.

He placed the band over his head, the discs on his ears, and as he had promised, the older man pressed a button.

The sound that filled his ears was certainly melodic, but like nothing he had ever heard before.  He heard a man singing in English (which he did not understand), and mixture of known sounds and instruments unlike any he was familiar with.  All in all, while obviously music, the sound that filled his ears was quite dreadful. He quickly removed the headphones.

"Is all the music from your time this ghastly?" he asked.

"You are convinced then?  That I am from the future?"

The young man considered. "Yes," he said, "That much would seem to be clear, though I am less convinced that you are me."

"Proving that much is simple," the old man responded, and pulled a worn and battered book from his bag. The book was intimately familiar to the young man as it had belonged to his father, and there was an inscription within; "Herzlichen Glückwunsch zum Geburtstag, Alois!" The book had aged greatly, but the inscription was as clear as when he had last seen it.  He was convinced.

"Now," The older man began after a heavy fit of coughing into a handkerchief "The reason for my being here."

"In four years time there will be a war.  The greatest war the world has ever seen.  You will serve in that war, as I did, and will be decorated for your bravery. Many on all sides will die, and ultimately our country will lose the conflict.  I do not believe anything can occur that will alter these events, as there is no time for you to gain a position to prevent it.  Germany had a difficult time for many years after this war, and times were hard, but eventually there was a ray of hope.  A man came to power who galvanised the nation. He made Germany feel vital again, and began the fight once more.  Rapidly he conquered much of Europe, and was held back only by the might of Russia, and the channel of water between France and Britain.  He recently allied with Japan, in the hope that they could come at the continent from the other side, and Italy to aid him heading south.

"It was not all good though, and despite bringing glory back to the nation the man was seemingly driven insane with his power.  Millions have died, anyone who does not live up to his ideals has been persecuted, and his tactics mean that people are fearful to speak out against him.  He has caused as much harm as good, and when I left it seemed that another war, far worse than the last, was about to break out.

"With this in mind, a team of American and British scientists came together to create a machine capable of sending a man back to stop this lunatic before he came to power.  The project was called Chronos, and the machine that came from it was known as Zeus."

There was a pause while the older man coughed again.  This time when he removed the cloth from his mouth it was flecked with blood.  Stable again, he continued.

"With our heritage and skills it may surprise you that I was called upon to work on this top secret project, but I traveled to London to help fight our dictator when it became apparent his rule would do as much harm as it would good.  I was given the task of drawing illustrations and floor plans of various buildings of government, many of which I have worked at over the years.  I fear to say that I had held a position that was little more than a glorified cleaning manager, but it gave me an intimate knowledge of the buildings few others have.

"The details in these illustrations drew the attention of the Chronos team, and they brought me aboard to do more of the same, this time focused on how these buildings looked in the past.  I have not been on the project long, and there are many things I still do not understand about it, but due to a quirk of fate, that I have neither the time nor inclination to describe, I was sent back accidentally, with only a small bag of random possessions and some money.  I found myself in London still, five weeks ago; fifty years in my own past. It has taken me from then until now to travel here to Vienna, as I knew you would be here at the Männerwohnheim.

"Since I am here, I believe you can stop this monster before he starts.  You can bring him down using information I have brought with me."

Another cough racked his body, and taking this pause as his opportunity the young man asked the many questions that had come to him.

"Who is this man you wish me to stop?  And how can I do this? You have told me already the way of the future, if I change it how will I end up in London, on a project that only exists because of the man I must stop?  This Zeus will have no reason to exist. I, as you, will have no way or reason to come back and have this conversation. And why are you sick?  Have you been poisoned?"

"Not poisoned as such, no," the elder began again, "A side effect of the accident. I fear I do not have long to live.  A week, a day, perhaps as little as a few hours.  I have been deteriorating rapidly, but if you can change the future this will have been worth it.

"I believe you can change the future still.  I gathered from overhearing the scientists that time can be overwritten, much like the tape in the cassette player from which came the music you heard.  There is music on the tape, but other music can be written over it, replacing the original.  The original music was still there previously, and can be recalled by the listener even though it has gone.  It seems that time too works this way, you will erase my past, but my past will still have happened in a sense, and I will still have travelled back here to -"

Another fit of coughing.  This one interspersed with dry retching and a horrible shaking.  A small trickle of blood came from his nose.

"Perhaps not even hours then," he said quietly, before changing tack.

"In this bag is a folder.  On my journey here I have written in it everything I can remember from the end of the great war until shortly before the rise of the Führer.  Use this information to hunt this man down and destroy him before he can bring ruin to the world."

The older man paused now, a slight glaze came over his expression.

"Funny," he said, "In my haste to write this history It did not occur to me to actually put his name in my notes.  What a ridiculous oversight." He sighed, the light fading from his eyes, blood now running freely from his nose and into the Handkerchief.

"He is a Jew, a Jew by the name of...  Of -"

He stiffened briefly, and then his body sagged.  The bloody cloth fell from his now limp hand, landing in his lap.

"Of what?" cried the younger man, rising to shake his older self. "By the name of what?"  But it was too late, the elder was dead, the name of the dictator, the Führer, the monster, taken with him to his grave.

He would have to deal with the body before dawn, but first curiosity gripped the young man.  He reached into the bag, already plotting how to eliminate an unknown Jew among millions, and pulled out the folder of papers within.  Despite what he had learned over the past half an hour he was still surprised to find his own familiar handwriting on the cover.

"die Zukunft," it read, "von Adolf Hitler"

The article that inspired this was published on io9, and can be found here.

Friday, August 30, 2013

Painting Class: A Head of a Time

And another post, coming in just under the wire for the month. And this may not be the last (don't hold your breath though). I have to be honest, this month has seen my art more or less go hang. I'm working on things at work, that while fun also leave me feeling drained of mojo at the end of the day (so there is lots of art, just not the sort of stuff I can share on here). Add to that a little mini-crunch this week and a bad, if short lived, head cold and I have very little sketching done, and very small number of speedpaints. I did finish another painting class at the start of the month though, and that's what I'm posting today (yeah, the title's a bit of a giveaway). If you want to see the previous painting posts then hit the tag at the bottom there and you'll be set.

Right, off we go.


So first up we did two tonal studies, based on white mannequin busts. I had to miss a chunk of the first class due to other commitments, so the first one was done from a photograph on my phone at home. It's actually not utterly terrible if you squint a bit I guess, but it's far too dark, and my orange bounce lights came out green (looking at the photo it's not actually all that close to it either - maybe this is the wrong photo).


I think it took about 80 minutes all told. Not going to sell, or hang in a gallery, but it was a useful learning experience. (all of these are in Acrylic on 8x10 canvas board by the way).


This is the second tonal study. Same head bust as the previous one, but this time in person and from a different angle. The black shape is the silhouette of my easel as I thought it would make for an interesting composition (it was in the way you see?). I was wrong, but it didn't hurt to try it. This time the values are far closer to the actual thing (I forgot to grab a photo this time though). 90 minutes this time.


For the third session Paula's daughter came in and posed for us (Paula McCarty teaches the class incidentally, I've mentioned that in previous posts). I'm not going to post a photo here, so you'll just have to take my word on this being an excellent likeness, if it was actually a painting of Paula's daughter from an alternate dimension where everyone is much uglier than they are in ours. Basically I think I didn't add enough shadow around the eye (although this picture of it does make it look lighter than it is in reality), and I made her nose far too big. You can tell who it's supposed to be (if you know her) but it is neither a good or flattering portrait. I think it took around 85 minutes.


This one took longer than any of the others. Again I couldn't attend the session this week and ended up painting this self portrait at home. I spent about an extra hour on it over the other ones. It's the only painting I thought to take a work in progress shot of, though it's not terribly exciting.


It's not the most accurate portrait; my nose is too long, giving me a bit of a horse face, but it is recognisable, which is a good thing. I discovered that eyes are a lot harder to do with real paint though, and here they look a little flat (though not as bad as in the next portrait).


And this was the one from the final week. This time the mirror was below me, and the lighting much brighter. The initial sketch was much closer to my proportions, but I think I made a bit of a mess of the actual painting. Not the worse thing in the world, and definitely a step forward, especially given that I think this was the shortest of the paintings (about 75 minutes I think). In person the painting is again a little darker, and the blending on the side of my face seems a lit smoother. Strange how hard it is to get decent shots of these - I'll have to look into how to set up better ones if I do more of these (they scan a lot worse than they photograph).

And I think that's it. The class ended a few weeks ago, and I have yet to pick up a brush again (for the reasons mentioned above). Paula has another class coming up in a few weeks, but I only just read the email (gmail had it marked as spam), so it may be too late for me to attend. Must reply to that tomorrow and see if there are any slots left. Anyway, until the next time faithful followers...

Saturday, August 24, 2013

Sketching for May/June '13

I've not been terribly good at keeping up on the blogging of late have I (and long term followers will know this is nothing particularly new)? To be honest I've not been terribly great at keeping up on the art either. That's not to say I'm not doing any, but a good chunk of it is for work, so you'll either never get to see it or you won't for a few years. The work stuff is a big learning curve right now, and as a result it's having a knock on to the art-as-hobby area. In all honesty this last week I might have gotten back on the horse properly, but Saints Row IV was out and I was too busy playing to actually draw anything (I did work on it of course, but even so there were plenty of surprises in there I'd somehow missed during development, and I had a blast). Plus it's right in the middle of allergy season, and I hate drawing when everything is slightly blurred from the results.

So yes, the art and the blog have not been my priority of late (there have been other things going on too, but I won't bore you with them), but now SR4 is done and dusted and there's less pure knowledge being assimilated at work I should be getting back to it. But not this week - I have a deadline of sorts this week.

Anyway! Sketching.


Only two images this time, of which this is the first. There's nothing terribly great here, but there are some areas that even I can tell are showing improvement. There's an improvement in the way I'm defining twisting motions, I think my representation of the abdomen is getting better and even hands and feet are showing a slight improvement from where I was a year ago. So that's all good. The only reference used here was for the lower abdominal and legs image in the lower right, where I worked from my anatomical figurine, but had a go at making the results more feminine (it's a masculine figure). Not perfect, obviously.

I did draw quite a bit more of it, but it's not so much that it was 'bad' as it was quick. The figure in the top right is representative of the stuff I've left out. Just quick near gestures to focus on small things (in this case the jut of the abdomen as it meets the pelvis).


Not much to say about these. Some of them were very successful (I particularly like the girl in the top left and the one with the mohawk), some were pretty disastrous(There's something very Shelly Duval like about the girl in the top right - but not really in a good way). Not much else to say really. No references used across the board, and facbook friend identification though the woman in the lower centre was the same as the person leaning against the fence in the first image when I uploaded these to my gallery there. I'm not sure if that means I've fallen into a rut of drawing everyone the same, or if facebook just plays really fast and loose with it's facial recognition (I suspect a bit of both).

And that's your lot. For now. There will be a little more coming, very soon indeed.

Wednesday, July 31, 2013

A Pirate's Life

Yeah, I missed a couple of weekends and haven't sorted out the sketching from two months ago yet, but I was busy. I'm here now, and ready to show one of the things I've been busy with. It's the first really finished digital piece I think I've done since November, and it took a while. I have some other stuff coming up I'll briefly mention first though.
I was working on a cover for Book 4 of Phil's TARDIS Eruditorum series, but we've both agreed it would be better suited for book 5, so I need to come up with other ideas, while still working on the #5 cover (it's a reasonably big job). I've also got this months sketches to scan in, and then I have to decide if it's a separate post from the previous two months or not (probably not, I didn't do all that much), and another speedpaint post is almost ready (I just want to do one more speedpaint for it).
Saints Row IV is out next month (probably this month by the time I post this, which means I should probably do a post about my work on the previous one before it's irrelevant. Beyond that I'm almost done with another painting class, so I'll be posting the results of that too. Remember the last one and set expectations accordingly. But now, on with this post...


You can click that to get a rather large version.  Hopefully your browser can do a half decent job of re-scaling it to fit your window.  You can enlarge the rest of the images in this post as well if you want a better look, though none of them are this large.

The story behind this one isn't terribly involved.  It's based on this stock photograph from Dingelientje-stock on DeviantArt and has been in my Favorites collection there for quite a while.  In the usual course of things I would probably have forgotten about it unless I stumbled across it while browsing my Favorites, which I do on occasion, but this one just kept popping up for some reason.  Every time I saw it I thought 'that would make a good painting' and then I'd move on.  Finally, when I was in a mood to actually do a portrait I stumbled across it again and thought 'Of course, that one!' and got started.  Really I just liked the puppy peeking out of her shirt, and in fact the initial name for this one was just Puppy Shoulder.


So I actually spent a little time sketching the layout for this one.  Not enough time apparently as it's still way off (sometimes I get it almost perfect, other times I'm way off - this is somewhere in between), but somewhere between 40 minutes and an hour.  The image on the left here is simply a quick sketch to get the very rough composition, taking about a minute, and then I filled in the detail that you can see on the right over the remaining time.


This is the blocking in process.  It's not supposed to be particularly pretty, and it really isn't.  Mostly it's just getting the rough masses and areas of colour blocked out.  Unlike my usual technique, where I keep the line art on a layer above the painting for constant reference, this time I kept it below and painted right over it (as I would with real paint), trusting the blocked image as a guide. I  didn't go quite dark enough with the shadows and her hair is the wrong colour here, but it was more important to me to identify that there at least was a shadow, and get the rough shape of her hair - the rest could be tweaked on the next pass.


Which was this one.  Still a little rough, but you can see I'm smoothing out the transitions and adding detail to her features as well as getting her hair the right color.  There's about 90 minutes or so between each of these stages, and while I would do further passes on most of the image her ear pretty much stayed at this stage all the way to the end.  Likewise I didn't really adjust the shirt after this except to add the stripes.

I had a little panic attack at around the point I finished the image on the right.  I have one at some point in any work I do that takes more than a couple of hours.  I start doubting the picture and wondering if I've just wasted my time.  Usually I reach the conclusion that even if the end result is terrible, the time will only have been wasted if I don't finish it or give it my all, and then I'll get back to it.


You can see the stripes here.  I did cheat a little with the stripes, because rather than spend the effort of making them darker as they went further into the shadow I just painted them on another layer and then used ArtRage's Multiply Blending mode to do all the hard work for me.  I did go in and tweak the result once I'd flattened the image, but still.  Despite the 'cheat' adding the stripes still took over an hour - I could have done a speedpaint in that time ;)

No cheating for her headband though, except with real paint I probably would have needed t paint the scarf white, darken the shadows, and then paint the black over it, while here I could just paint the white and grey straight over the black.  I didn't notice until this point, but firstly I realised the scarf had Skulls and Crossbones on it, and then I noticed that the skulls had hearts for eyes, which is pretty awesome.  I was tempted to not bother doing that in the painting, because who'd notice?  But then I decided it would be a really nice detail and made sure I matched it as best I could. This was also the point I decided to change the title to A Pirate's Life (Originally it was going to be A Pirate's Love, but was she the love? Or the pirate in love? And would my wife get the wrong idea?  Life it is then!).

The final panel here may look the same as the preceding one at first glance, but her hair has had an additional pass along the top and side.


These three may look almost identical except for her tattoo, but I made a number of tweaks to her face, including smoothing some of the shading, improving her eyes, changing her eyebrows, tweaking her nose, adding detail to her lips, and adjusting her cheeks.  Hard to see at this size, but fairly obvious at the size I was painting.  Those changes may be more visible in the GIF below.

The tattoo itself I'd put off until the end as I thought it would be nightmarish to do.  Turned out that other than being a little time consuming (The line art for the flowers took about an hour, and the rest about the same) it wasn't too bad, and actually quite relaxing.


This is just an image from the end of each of the 4 main passes at the painting, to give a better look at the progression.


And this is a GIF of the painting stages at the end of each session I worked on it (mostly between 1 and 2 hours a time).  20 odd hours reduced to a few seconds...

Finally, just for a bit of fun I took the painting and ran it through some adjustments and filters in Photoshop in order to change the mood.  I think the left one looks more romantic as a result, while the right one looks more dramatic and candle lit, but the real one is the one at the top there.  Maybe I'll paint something candle lit looking next... Or not.

Sunday, July 14, 2013

A Collection of Pleasingly Structured Lies (№ 1)

I have depressingly little to report. I have started several pieces, but most of them are some way off from being something I can show. I scanned two months worth of sketches, but have yet to arrange them into something I can display (and if you're a regular reader you'll know that's a pretty major undertaking, which is why I decided to do it less often, but now I realise that just means I have more to do when I get around to it). I haven't done any new speed paints (though I'm hoping to do one today), but I have done some speed sculpts. Digital sculpts you understand, if it was real sculpting materials I would just be showing off a blob of Playdough.
I also started a new painting class with Paula McCarty, so there may be something to show there in a few weeks. Other than that? Not much. Nothing to show anyway. But I don't want to leave you hanging, so since I can post pretty much whatever I want on here you're going to get a little fiction.

I don't write. I am not a writer. I am a story teller though, as I suppose many people with kids are. At bedtime my son insists I tell him a "Story from your mind," whereby he picks two random things (invariably robots and something, or, when that is banned for being overused, a cat and a refrigerator), and I have to tell a story about them. I have yet to write any of these down, although some of them may be worthy of me doing so.
I had to write this down though it wasn't a story for my son, it was a story for me. I had an incomplete dream (I rarely remember dreams), and decided I had to know how it would have ended, so I wrote it down and completed it. I'll leave you to it, and hope you enjoy it, as my tale telling is rarely something I draw attention to.

Until the next time - fiction!

Quite Another Dimension

Two men sat in the sunlit room, one either side of the table. Both men were highly regarded doctors in their respective, but unconnected fields.

"So," said one, "You claim you have succeeded in your attempts at trans-dimensional travel?"

"Claim?" came the others response, "Yes, I suppose 'claim' is fair, as I have no physical evidence that my experiments were successful."

He elaborated, "It is not my physical being that travels you see? Such a thing would be a physical impossibility, and in some dimensions a liability. No, it is not my person that travels, rather my consciousness is transferred into my closest biological equivalent in whichever dimension I arrive in."

The other doctor looked interested, "Closest biological equivalent implies you do not always transfer into your physical duplicate. Have you transferred into others?"

"Quite so. There are an infinite number of dimensions you see? Thus an infinite variety of alternates, only a small number of whom are my biological duplicate. There are a few billion versions of me out there, a few trillion at most. In the vast majority of accessible dimensions the closest thing I can transfer into is very little like myself. I have been a potential sibling a few times, some of them women; I transferred into my father's duplicate twice, once my great-great grandfather, and on one memorable occasion a snake."

"A snake?" the other cried in disbelief, "but how could you possibly operate the controls to return?"

"Well, I didn't need to. The machine works on a timed mechanism. As I said my physical being does not travel, and this goes for any other physical object as well, so taking controls to bring myself back would be quite impossible, and, as you have now realized, quite inconvenient.

I said earlier that this lack of physical transfer avoided some liabilities, one of them being that I may appear in a dimension where the natives breathe a mix of nitrogen and methane. Quite inconvenient to arrive as an oxygen breather in such an environment. But the problem is avoided, as is the problem of operating controls. the machine brings me back after a preset time, with my physical form being seated in a chair within the machine while I am gone."

"In the machine... unconscious?" The other doctor seemed to find this possibility even less believable than the snake, the incredulity evident in his tone.

"From your tone you will be happy to know that I am not unconscious during my travels, no. My physical form must have quite an interesting adventure of its own I gather, as the consciousness of whoever I posses in the other dimension must go somewhere, and so it temporarily occupies my form here. I discovered this the hard way when I returned to find some considerable damage in the lab. I couldn't afford to risk the machine becoming inoperable while I was out of my body, so I installed timed restraints. They lock when I leave, and release when I return. Quite simple really."

The other seemed impressed by this solution to the travelers problem, and made a note on the pad before him, one of many he had written in the last few minutes. He looked up again.

"Tell me Doctor, have you done this often? Does it hurt? And when will you do it again, I would be most interested in observing."

"Why yes, I have done it several times, although after the partial destruction of my lab I have done it less often, and to a more strict schedule. I had to change locations after that as well; the others in my building were quite disturbed by the violence of my dimensional alternate on that occasion, as well you might gather.

It is interesting you ask about pain. early on in the experiments I had very little, just a slight discomfort, but recently I have returned with a level of quite extraordinary pain. I had not thought to wonder why this would be until now, but it did seem to start when I moved labs.

As to when I am trying this again, I believe I have scheduled time in the machine tomorrow morning at about ten o'clock, if you would be free to attend then?"

The other stopped his now relentless scribbling and looked up once more.

"Ten AM? Yes, that sounds perfect. If you'll excuse me though I have other matters to attend to now, and I'm sure you could do with some rest before tomorrow."

He reached over to the intercom on his desk and pressed the switch,

"Orderly, would you escort Doctor Frederick back to his room please?"

After they had left he turned to a third figure, shrouded in shadows and obscured by sunlit dust motes in the corner of the room.

"I believe I'll see him in the morning for his scheduled cranial electro-therapy at ten. I'm afraid he's still quite delusional, although seemingly quite harmless. I doubt we'll have a repeat of his performance at the Davidson Institute here. Are you agreeable to the continuation of his treatment?"

"Yes," said the woman, the Traveller's wife, "He clearly needs all the help we can give him."

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